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IRON GRIFFIN, the vintage metal project from MAUSOLEUM GATE drummer Oskari Räsänen, will release its first full-length, “Curse Of The Sky” on March 22 via Gates Of Hell Records.

LISTEN TO “REIGN OF THUNDER” on BANDCAMP!

The follow-up to the band’s 2017 self-titled EP, the instrumentation for “Curse Of The Sky” was recorded in July of 2018 at Räsänen’s rehearsal room in Kuopio, Finland. Vocals were tracked in Joensuu, while synthesizers were recorded in Helsinki. Like the self-titled EP, “Curse Of The Sky” finds Räsänen once again handling all instrumentation and recording the album himself. He is joined by a new face, female vocalist Maija Tiljander, who he discovered several years ago singing European power metal covers in a Finnish bar. Impressed, he took a mental note of Tiljander’s abilities and when it came time to work on “Curse Of The Sky”, he felt compelled to track the vocalist down.

“I found her through social media and straightly asked if she would be interested in an album project like this,” he says. “She responded, ‘Of course I am!’ Long story short, I did not know her before, I took a bus to Joensuu with my portable recording equipment and we had a pleasant demo session. I was really impressed with her abilities and sound and how greatly she adapted my ideas. Maija’s vocals give really unique twist to IRON GRIFFIN. This kind of metal is enchanted with powerful and high-pitched vocals is something really unique and cool.”

“Curse Of The Sky” traverses the familiar road of classic, proto-metal, with Rasanen’s savvy songwriting being the guide as he takes the listener through songs of fantasy and folk tales. Inspired by U.S. power metal and progressive folk/rock, Räsänen also looked toward doom metal for atmosphere and melancholy. “I tried to channel epic-ness in the instrumentation and especially in the vocals. I was highly influenced by the vocals in MAJESTIC RYTE, ENCHANTER on their ‘Defenders Of The Realm’ album and STORMBRINGER’s ‘Stealer Of Souls’. But on the other hand, folk bands like PENTANGLE, RENAISSANCE, MELLOW CANDLE, COMUS, MIDWINTER, CHIMERA, MORITA DOJI, HAKO YAMASAKI have all stuck so hard in my subconscious. If you’re aware of this kind of music, you might hear something similar and familiar in ‘Curse Of The Sky’.”

While he’s very much comfortable in a full band environment like MAUSOLEUM GATE, in IRON GRIFFIN, Räsänen admits that working alone does present its share of obstacles, especially when he wants to try new ideas out. But, through the process of elimination and sheer perseverance, Räsänen is often able to emerge with songs he can stand by, which is why he will continue to do all instrumentation himself.

“The best thing about doing music by yourself is that there are no boundaries, you can do whatever you want,” he says. “There is no one presenting bad opinions or shitty riffs, ha-ha! If you want to make even more over-the-top vocal melodies or anything weird and un-acceptable, you can just do it. No compromises have to be done. When working as a full band, it’s always about making compromises and struggling through what is good and what is not from everybody’s opinion. That is why making your own music in your own ways is really refreshing. At least for me it is. Still, the greatest motivation to make a full-length was to challenge myself and become better both in composing music and playing various instruments.”

Fresh off their split with Finland’s CORONARY, Canada’s TRAVELER will release their self-titled first full-length on February 22 via Gates Of Hell Records. Recorded at three different studios throughout 2018, “Traveler” will feature eight songs of up-tempo, classic metal, right up the alley for fans of vintage JUDAS PRIEST, MANILLA ROAD and RIOT.

According to guitarist and founding member Matt Ries, “Traveler” will certainly appeal to fans of their debut demo and split with CORONARY. The three songs from their demo have been re-recorded and given new life thanks to TRAVELER’s now-complete lineup, a first for the band. “To have this become a reality is amazing,” he says. “I’ve learned a lot about who you jam with and not settling for anything less than the best. I’ve also learned how much work comes behind taking the reins on everything, but it’s all worth it.”

TRAVELER, who are now rounded out by vocalist Jean-Pierre Abboud (also of GATEKEEPER), second guitarist Toryin “Junior” Schadlich, bassist Dave Arnold and drummer Chad Vallier, tracked drums at AB Records, guitars at Ries’s home studio and vocals at Richhobo Studios. In all, their self-titled album shows just how far TRAVELER has come in the span of a year, with the re-recorded songs from the demo blending seamlessly with the band’s new compositions.

“The newest songs all vary differently from each other,” says Ries. “We feel this will make for a really interesting album. But, of course, the album has no shortage of dueling guitars and powerful vocals. And, after hearing the vocals laid out for the first time over these songs, I can safely say they all pound just as hard! The lyrical themes are mixed with real life experiences and total exaggerated scenarios. Ripping leads and harmonized guitars. Driving bass lines. Everything I love to hear when I throw on a record. So, if we share the same taste, you’ll be raising your fist.”

TRAVELER, who originally started as an outlet for ideas that weren’t suitable for Ries’s other bands GATEKRASHÖR and HROM, has enjoyed a year that has gone far beyond the guitarist’s expectations. Starting with the positive feedback from their split with CORONARY to the writing and creation of “Traveler”, TRAVELER has capably handled the whirlwind that was 2018 and now has their eye toward 2019.

“This year has been a really exciting experience,” says Ries. “It’s also been extremely challenging getting everything together. Our love for the music has kept us on the right track. However, the feedback from everyone has lit a fire under our asses to make the best possible record. I didn’t expect to be working under such a great label so soon. Again, all of this has been nothing but motivation to keep moving. Now that we are wrapping up the year, we are focused on making a great live show for everyone! We can’t wait to rock the stages for all of you. We have a lot of great plans in the works for shows and future projects. So, the way I see it, we’re just getting started”.

German metallers BOOZE CONTROL have set a February 22 release date for their fourth full-length album and first for Gates Of Hell Records, “Forgotten Lands”. The album was recorded in October 2017 at Overlodge Recording Studio in Harz Mountains, Germany, with Martin Schnella handling engineering duties.

“Forgotten Lands” is the embodiment of a band now in full songwriting stride. BOOZE CONTROL’s engaging blend of NWOBHM-inspired classic metal shines through on the album’s ten cuts. “The two previous albums really helped us find and define our style as a band,” says vocalist/guitarist David Kuri. “We feel that we got it now, so ‘Forgotten Lands’ is less of a search and more of an arrival. This doesn’t mean that it’s boring now — on the contrary, it allowed us to be more confident when deliberately diverging from that style, so there is quite some experimenting going on on top of the solid heavy metal foundation we defined for ourselves.”

Kuri says BOOZE CONTROL (who are rounded out by second guitarist Jendrik Seiler, bassist Steffen Kurth and drummer Lauritz “The Lord” Jilge) often come up with songs during rehearsal where they swap riffs and ideas. Some of the songs on “Forgotten Lands” stem back to the band’s 2013 “Heavy Metal” and 2016 “The Lizard Rider” albums, but always go through the same process with Kuri and fellow guitarist Jendrik Seiler adding finishing touches. One element on “Forgotten Lands” is sure to stand out: BOOZE CONTROL has adopted a much more serious lyrical tone than their previous efforts.

“‘Forgotten Lands’ mostly tells fictional stories inspired by books, movies, television, video games or scientific findings,” says Kuri. “The title song — a first for us — and ‘Slaying Mantis’ specifically give some context to the album artwork. ‘Playing With Fire’ is the only more ‘worldly’ song, in the sense that it is inspired by recent geopolitical events, though I wouldn’t call the song itself political and BOOZE CONTROL definitely isn’t. There are also a lot of small cross-references between the songs, some of which actually have a meaning while others just send you on a fun journey of interpreting the songs in a broader context.

“Thematically, we also work with the topics of discovery and arrival in the lyrics. The title song is about discovering the new, even after you have already made some headway. Songs like ‘Spellbound’ and ‘Slaying Mantis’ expand on that and hopefully convey that we are still trying to find new approaches to both music and life, while building on what we have already found.”

The “Forgotten Lands” cover art was created by Dimitar Nikolov (Keep It True, ROSS THE BOSS, STEELWING, SACRAL RAGE). Nikolov was asked to create the “Forgotten Lands” album cover due to the overwhelming response to the band’s previous two album covers, which he was also responsible for.

“Dimitar is a great help in shaping the current identity of the band,” says Kuri. “I think the idea of depicting the confrontation with the giant Praying Mantis was there first, and then quickly sparked the idea of the album title. The title track wasn’t planned, but just so happened, and turned out to be a great opener. The artwork shows the same fighting woman as the last two albums, with two novelties: First, she’s going in close this time, not relying on ranged combat. Second, you can see her face for the first time. Both of these facts are highly metaphorical for the way that BOOZE CONTROL has developed.”

Next year, BOOZE CONTROL will celebrate ten years a band. Remarkably, they’ve been able to keep the same lineup, all the while, building a steady following across mainland Europe. “Forgotten Lands” may represent a new conceptual frontier for the band, but the same unbending, memorable metal is still in place, a lot of which has been forged through hard work the last ten years.

“There is a ton of things we have learned along the way,” finishes Kuri. “I think the most important one for me would be to talk to people as much as you can: other bands, promoters, bookers, and of course, your fans. Sharing experience and stories is not only great fun, but the best chance to grow you can get.”

German classic metal hybrid PULVER has recently completed work on their first full-length album, “Kings Under The Sand”. Due in early 2019 via Gates Of Hell Records, the album was recorded at Berlin’s Big Snuff Studio with Richard Behrens serving as producer.

Guitarist Lukas Kunkel describes “Kings Under The Sand” as “more defined” than their debut self-titled 7-inch, which was released earlier this year. According to Kunkel, major influences come from traditional heavy metal, especially NWOBHM and hard rock. Under the direction of Behrens, “Kings Under The Sand” was recorded in analog, ensuring a crisp, classic metal sound. “The songwriting process was very similar to what it was like for the EP, but more targeted,” notes Kunkel. “Everybody was involved, throwing ideas around and working on the details until we were all happy with the songs. In doing so, we still always tried to keep an eye on the album in its entirety. Eventually, we fine-tuned a few things during the recording sessions at the studio.”

The album’s artwork is created by Max Löffler and will be a continuation of the “Phantom Hawk” creature that originally appeared on the band’s 7-inch. “The whole concept for the album revolves around the idea that ancient Egypt was enslaved by an alien warrior tribe known to man as the ‘Phantom Hawk,’” says vocalist David Fröhlich. “The creature on the cover of our 7-inch was a scout for an alien race, who came to earth to check if mankind would stand any chance to defend itself against the invasion. The scenes on the album cover will take place seven years later in an enslaved Egypt. While the aliens have invaded the planet, humans are preparing a counterstrike at their shelter underneath the sand. The songs on the album will tell the story around it while musically reflecting the particular theme.”

PULVER’s debut self-titled 7-inch was recorded by Heiner Kunkel at Dreiklang Audio in the band’s hometown of Aschaffenburg.

“Diamond Cut Diamond”, the second full-length album from Australian true metal quartet CONVENT GUILT, is set for a November 9 release via Gates Of Hell Records.

The follow-up to 2014’s “Guns For Hire” was recorded at various locations around Sydney in the first half of 2018 by Lachie Vercoe, who was also responsible for the album’s mix. “Diamond Cut Diamond” was mastered by Patrick Engel at Temple Of Disharmony. The album’s striking cover art featuring a strong colonial Australian image was created by Lena Richter of Diamonds and Rust Tattoos.

Possessing the same classic metal swagger as found on “Guns For Hire”, “Diamond Cut Diamond” contains seven slabs of song-oriented metal, graced with well-placed tinges of melody and NWOBHM influences. CONVENT GUILT (who feature bassist/vocalist/primary songwriter Ian, the guitar tandem of Andrew and Dario, and drummer Brent) have once again placed focus on emotion and energy over soulless musical precision, resulting in a must-listen for fans of early IRON MAIDEN, SAXON and TRESPASS.

According to Ian, the songwriting process for “Diamond Cut Diamond” was an organic one, although the band was sure to take their time when writing their all-important sophomore album. “Songwriting happens when it wants to rather than when I sit down to focus on it,” he says. “The oldest tracks on ‘Diamond Cut Diamond’ were written before ‘Guns For Hire’ was released. Even the newest tracks have been around a while. We rehearsed the tracks quite a bit and recorded rough demos to fine-tune our approach. With a bit of luck, this has added extra layers to the songs without compromising the band’s raw energy.”

Employing lyrical themes that, according to Ian, touch upon Australia’s “rich and dusty history,” “Diamond Cut Diamond” proves to carry plenty of philosophical weight as well. “Some of our lyrics deal with conquerors and the subjugated, the inbuilt weakness of men, depression-era outlaws and the insanity of social media. It’s a mixed bag thematically, but as always, lyrics are a vital part of what this band is about.”

It’s been four years since the release of the last CONVENT GUILT LP, so, as you could imagine, the band is chomping at the bit to unleash the album upon the waiting ears of the metal scene. As “Diamond Cut Diamond” shows, the wait was well worth it. “I’m sure it’s the same for most bands, but getting an album out seems like such a massive weight off our shoulders – it’s a ‘release’ in more ways than one,” says Ian. “We won’t rest on our laurels, but we’ll enjoy the relief and achievement as well. A couple of us have other projects we’re working on, so we’re giving those a bit more attention. And we’re riding the usual waves of life to wherever it takes us.”

The perfect setup for their first full-length album (due in 2019), “Lyrids” features a pair of leftover songs from the band’s 2016 “Where The Time Dwelt In” EP: “Empire Of The Crimson Fields” and “Iron Cave”. Both songs find VULTURES VENGEANCE (who feature guitarist/vocalist Tony T. Steele, new lead guitarist Tony L.A., bassist Matt Savage and drummer Kosathral Khel) digging deep into their NWOBHM roots as well as power metal and thrash, aided by a warm, but raw production job.

Inspired by the “cave myth” from the ancient Greek philosopher Plato, “Into The Cave” takes on fantasy-based heavy metal in the style of OMEN, STEEL ASSASSIN and LIEGE LORD. “Empire Of The Crimson Fields”, on the other hand, features a two-part narrative that tells the story of a noble family awaiting of the birth of the new king. The family eventually conquers an empire, but starts savaging the natives, which is where the story shifts to a commoner who has watched his son killed and his land destroyed. The pain and prayers from this man are eventually heard, placing a curse upon the kingdom. Their points of view converge at the song’s conclusion where both fall into the face of death, neither receiving clarity.

Since their 2015 formation, VULTURES VENGEANCE has become a favorite among European critics and fans, with influential German metal magazine Deaf Forever giving the band’s debut “Rising” demo a glowing review. From there, “Where The Time Dwelt In” only served to further their reputation as a new classic metal band to watch. It is with little doubt “Lyrids: Warning From The Reign Of The Untold” will hold the VULTURES VENGEANCE fanbase over until their first full LP finally arrives next year.